The role of advertising in postmodern culture is far more than an impetus to capitalist economy; from its first full flowering in the 1920s, it has addressed its human subjects in ways that exceed considerations of monetary exchange. Advertising has come not only to sell people what they desire – it has also materially changed their desire, and thus the people themselves in the process. Certainly ‘individuals’ have become ‘consumers’ – but the problem is greater than this. Advertising, with its undeniable aspects of fantasy, often stands in complete opposition to critical thinking. This examination explores advertising’s effects on the individual through the critical lenses of ideology and psychoanalysis, concluding that although ideology is a relevant methodology, it remains incomplete. Psychoanalytic theory, on the other hand, provides multiple avenues of interpreting how advertising addresses both the conscious and the unconscious mind, and offers a potential methodology for personal resistance and social change.

Until recent years, the historical moment of Charles II's return to England was universally accepted as a clear marker of the end of "the Cavalier winter," a welcome victory over theater-hating Puritans. To verify this historical view, literary historians have often glorified the role of King Charles II in the history of the "revival" of drama during the Restoration, whereas they tend to consider the Long Parliament's 1642 closing of the theaters as a decisive manifestation of Puritans' antitheatricalism. This historical perspective based upon what is often known as "the rupture model" has obscured the vibrant development of dramatic forms during the English civil wars and the ways in which the revolutionary energy exploded during this period continued to influence in the Restoration the deployment of dramatic forms and imagination across various social groups. By focusing on the generic development of drama and theatricality during the English civil wars, my dissertation challenges the conventional historiography of the English civil war literature, which has been overemphasizing the discontinuity between the English civil war and the periods before and after it. The first chapter shows how the theatrical energy displaced from traditional cultural domains energized an emerging cheap print market and contributed to the invention of new dramatic forms such as playlets and newsbooks. The second chapter questions the conventional association of Puritanism and antitheatricalism by rehistoricizing antitheatrical writers and their pamphlets and by highlighting the dramatic impulses at work in Puritan iconoclasm during the English civil wars. The final chapter offers the Restoration Milton as a case study to illustrate how the proposed historical perspective replacing "the rupture model" better explains not only the politics of Milton's Paradise Lost but also of Restoration drama.

<p>The appearance and design of a package are key properties to attract and to focus the attention of a customer. Print quality contributes to a great degree to achieve these requirements. Most critical perceived in terms of quality are print defects like mottling, gloss and stripiness, which all appear in the printing of corrugated board. Stripiness is especially critical because it is a defect directly caused by the corrugated board construction. A further cause can be generated by the production process of corrugated board. Pre-studies by Odeberg Glasenapp (2004) revealed a difference in surface micro-roughness between the regions on the peak line of the liner and the regions in the valley between two peaks of the corrugation. This knowledge was the basis for the work described in this thesis.</p><p>In a first stage, laboratory trials were conducted with sets of coated and uncoated samples of various grammages. The trial was set-up in order to simulate the conditions in the corrugator as closely as possible. In the evaluations, it was found out that the settings were too high. For that reason, the coated samples were influenced to a too high degree and needed to be excluded from further evaluations. With the uncoated samples, on the other hand, a change in micro surface roughness was detectable. The roughness is decreased on the peaks and the gloss appearance was the conclusion. The analysis of the printed samples focused on shifts in colour and print density. It is unclear if both are affected only surface roughness changes and/or by the typical corrugated board effect of washboarding.</p><p>A full-scale test was performed in order to confirm the results of the laboratory test. A test series was chosen with coated and uncoated outer liners. Contrary to the lab-test results, the uncoated grades showed no surface roughness changes. Instead, the coated samples were affected to a great extent. The changes in surface roughness and gloss appearance were similar to the lab-test. This confirms that the lab-test samples were exposed to heat, pressure and shear to a too high degree. The print analysis of the full-scale test did not agree with the laboratory test. Gloss lines were visually detectable, but they were difficult to measure. A reason could be that the ink is capable on forming an ink film layer on top of the surface of the paper. This would cover the micro roughness of the matt parts thereby creating an almost homogeneous glossy appearance.</p>

A detailed english description (three pages) is enclosed in the publication. / Die heutige Menge an textuellen Informationen erfordert vom Interessenten eine adäquate Selektion und Rezeption. Als printmedientechnischer Beitrag zur Lösung dieser Problematik wird das Book-on-Demand- (BoD) Verfahren in Verbindung mit einer individuellen Auswahl von Buchinhalten genutzt. Dazu wird in der vorliegenden Arbeit ein Formalismus entwickelt, der im Rahmen eines BoD-Workflows die kontextspezifische logische Neustrukturierung von Einheiten eines bestehenden elektronischen Buches automatisiert. Als Grundlage dient das aus der Graphentheorie bekannte Modell des minimalen Spannbaums (MSB). Bei der Bildung des MSB werden vor allem die primäre, vom Autor des bestehenden Buches vorgegebene, logische Struktur und eine dem Buch zu Grunde liegende Taxonomie ausgewertet. Für eine prototypische Implementierung des formalen Modells wird eine geeignete Softwarearchitektur für XML-kodierte Bücher entwickelt. Die Bewertung der resultierenden Buchgliederungen wird durch neuartige Metriken für logische Strukturen unterstützt.

In Marked Men: Sport and Masculinity in Victorian Popular Culture, 1866-1904 I examine the representation of the figure of the Victorian sportsman in different areas of nineteenth-century popular culture – newspapers, spectacular melodrama, and series detective fiction – and how these depictions register diverse incarnations of this figure, demonstrating a discomfort with, and anxiety about, the way in which the sporting experience after the Industrial Revolution influenced gender ideology, specifically that related to ideas of manliness. Far from simply celebrating the modern experience of sport as one that works to produce manly men, coverage in the Victorian press of sporting events such as the 1869 Oxford-Cambridge Boat Race, spectacular melodramas by Dion Boucicault, and series detective fiction by Arthur Conan Doyle and Arthur Morrison, all recognize that the relationship between men and modern sport is a complex, if fraught one; it produces men who are “marked” in a variety of ways by their sporting experience. This recognition is at the heart of our own understandings of this relationship in the twenty-first century. / Thesis (Ph.D, English) -- Queen's University, 2012-08-01 15:16:09.384

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

The thesis and exhibition, Interaction: Portraiture in a Digital World, seeks to analyze digital portraiture today. I choose to depict concepts and ideas, as they relate to digital portraiture, through four distinct series of work, which encompass similar ideas and themes, but come at them from different perspectives. The work within the exhibition is comprised of several portraits of personal friends, family, and acquaintances, which have all been appropriated from online sources such as Facebook, and online dating sites. Because the portraits consist of people that I know on a personal level, are a collection of portraits that are derived from my personal social media profile, and represent individuals with whom I have frequently interacted with online, one could assess that in addition to being a collection of unique individual portraits, the exhibition is also a self-portrait of me, the artist. The exhibition includes Facebook Text Portraits, Nightclub Portraits, Online Dating HTML Portraits, and a Crying Girl Portrait, all of which strive to blur the lines between art and digital design, while addressing the function and meaning of digital portraiture today.

E. Mervyn Taylor (1906-1964) was a pakeha artist whose prints drew influence from Maori culture and motif. He was one of a small number of artists who developed interest in Maori culture during the 1940s and 1950s. He expanded interest into detailed study of Maori culture, and interaction with Maori, and produced a significant body of prints on this subject during his career. Taylor's prints were acclaimed during his lifetime, but in the decades after his death, his reputation faded to the extent that he became relatively obscure. This persisted until the late 1980s, when art historical reassessment of his work began. This thesis forms a part of this continued re-evaluation. It focuses on Taylor's prints on Maori subjects, an area not sufficiently scrutinised in an academic context. It aims to reach deeper understanding of his prints through historical analysis of the factors that influenced him to choose Maori, and their culture as subjects for his artwork. The thesis also examines why Taylor's reputation was so emphatically based on his New Zealand heritage, as well as the quality of his craftsmanship, his beliefs about which formed the foundation of his philosophy. Nationalist and regionalist notions also figured in his aesthetic ideals. His prints are also placed in relation to the modern debate over cultural appropriation in art. Greater recognition and understanding of Taylor's oeuvre may be achieved by establishing why he chose Maori subjects, and what specific features they contributed to the character of his work.

En se basant sur l’histoire des Bradfords, l’une des plus grandes familles d’imprimeurs de l’histoire américaine, ce mémoire étudie la relation entre l’imprimé, les imprimeurs, et divers discours sur la liberté au cours du « long » 18e siècle. Il retrace la transition entre une ère de la « liberté de parole, » née des débats sur la liberté de presse et d’expression de la période coloniale, et une ère de la « parole de la liberté, » née au cours de la Révolution et entretenue sous la jeune république. Cette transition fut le produit de la transformation du discours des contemporains sur la liberté, mais s’effectua également en lien avec la transformation du milieu de l’imprimerie et de la culture de l’imprimé. Selon les circonstances politiques, sociales, économiques et culturelles particulières des périodes coloniale, révolutionnaire, et républicaine, l’imprimé et les imprimeurs américains furent appelés à disséminer et à contribuer au discours sur la liberté. Ils établirent ainsi une forte association entre l’imprimé et la liberté dans la culture de l’imprimé du 18e siècle, qui était destinée à être transmise aux siècles suivants. Mots- / Based on the family history of the Bradfords, one of America’s most celebrated printing dynasties, this thesis studies the interplay between print, printers, and various discourses on freedom during of the long 18th century and through the colonial, revolutionary, and early republican periods. It traces the transition between an era of the “speech of freedom,” born out of the colonial debates on the freedom of speech and press, and an era of the “freedom of speech,” born in the course of the Revolution and upheld during the early republic. This transition resulted from the transformation of the contemporaries’ discourse on liberty, but also had to do with the transformation of the printing trade and print culture. As a result of the political, social, economic, and cultural circumstances of the colonial, revolutionary, and early republican periods, American print and printers were led to disseminate and to contribute to the discourse on liberty. They thus established a strong association between print and freedom in the 18th-century print culture, an association which was destined to be transmitted to the following centuries.

The thesis and exhibition, Interaction: Portraiture in a Digital World, seeks to analyze digital portraiture today. I choose to depict concepts and ideas, as they relate to digital portraiture, through four distinct series of work, which encompass similar ideas and themes, but come at them from different perspectives. The work within the exhibition is comprised of several portraits of personal friends, family, and acquaintances, which have all been appropriated from online sources such as Facebook, and online dating sites. Because the portraits consist of people that I know on a personal level, are a collection of portraits that are derived from my personal social media profile, and represent individuals with whom I have frequently interacted with online, one could assess that in addition to being a collection of unique individual portraits, the exhibition is also a self-portrait of me, the artist. The exhibition includes Facebook Text Portraits, Nightclub Portraits, Online Dating HTML Portraits, and a Crying Girl Portrait, all of which strive to blur the lines between art and digital design, while addressing the function and meaning of digital portraiture today.